plate no. 9995
Julie Manet with a straw hat
Berthe Morisot, 1892
recreation guide
Berthe Morisot’s 'Julie Manet with a straw hat' (1892) is a quintessential Impressionist portrait that prioritizes the optical effects of light and color over linear definition. The work is distinctive for its reliance on simultaneous contrast, where the perception of color is altered by adjacent hues, creating a vibrant, spontaneous surface (Source 2). Morisot’s approach aligns with the Impressionist goal of capturing the 'modifications of the light on the model' rather than static, scientific accuracy (Source 2). The painting likely employs a loose, expressive brushwork that allows for 'great effects' to emerge from the juxtaposition of tones, consistent with the artist’s documented practice of prioritizing visual sensation over detailed rendering (Source 1).
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (pre-mixed tubes) | Primary medium for color application | Professional grade oil paints (e.g., Winsor & Newton, Gamblin) |
| Linseed oil | Medium to mix with pigments for consistency and drying time | Refined linseed oil |
| Canvas | Support for the painting | Linen or cotton canvas, primed |
| Brushes (various types) | Application of paint; fine brushes for detail, broader brushes for masses | Kolinsky sable for fine details, hog bristle for broader strokes |
| Palette | Mixing colors | Wooden or glass palette |
| Solvent (Turpentine or Odorless Mineral Spirits) | Thinning paint and cleaning brushes | Odorless mineral spirits |
preparation
surface prep
The canvas should be primed with a traditional oil ground, likely white or off-white, to allow for the luminous quality characteristic of Impressionist work. While specific priming methods for this exact canvas are not detailed in the sources, Morisot’s practice involved working on prepared supports that allowed for the layering of transparent and opaque glazes (Source 6).
underdrawing
Morisot likely employed a loose underdrawing, possibly in thin oil or charcoal, to establish the general form and likeness. Sources suggest that for complex compositions or portraits, a rough sketch is made to guide the placement of the figure, especially if the sitter’s time is limited (Source 5). The drawing should not be overly detailed, as the final effect relies on the 'minute visual expression' acquired through practice, allowing the artist to focus on broader emotional and optical qualities during the painting phase (Source 3).
underpainting
An underpainting in thin, diluted oil may have been used to establish tonal values and color relationships. This step helps in harmonizing the colors inherent to the model, such as flesh tones, before applying thicker layers (Source 1). The underpainting should be kept loose to allow for the spontaneous adjustments required by the law of simultaneous contrast (Source 2).
color palette
Flesh tones
Lead white, vermilion, yellow ochre, and touches of blue or green for shadows
General use in this artist's palette; flesh colors are fixed by the model but modified by adjacent colors (Source 1)
Straw hat tones
Yellow ochre, raw sienna, white, and touches of complementary colors for shadows
The hat, which interacts with the background and clothing through simultaneous contrast (Source 2)
Background/Clothing
Varied hues depending on the specific composition, likely including blues, greens, and earth tones
General use in this artist's palette; chosen to harmonize with the inherent colors of the model (Source 1)
composition
The composition likely places the sitter in a relaxed pose, with the straw hat as a focal point. Morisot’s portraits often feature a simple background to emphasize the figure and the play of light on the subject (Source 5). The arrangement of colors is designed to create harmony through simultaneous contrast, where the colors of the clothing and background are chosen to enhance the perception of the flesh tones and the hat (Source 1).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the general form and likeness of Julie Manet on the canvas using thin oil or charcoal. Focus on the major proportions and the placement of the hat.
Tip — Avoid over-detailing; the drawing should serve as a guide, not a final image.
Loose underdrawing
underpainting
step 02
Apply a thin layer of diluted paint to establish the basic tonal values and color relationships. Pay attention to the inherent colors of the flesh and the hat.
Tip — Keep the paint thin to allow for adjustments in subsequent layers.
Tonality establishment
first pass
step 03
Begin applying thicker layers of paint, focusing on the face and hands. Use the law of simultaneous contrast to adjust colors based on their surroundings.
Tip — Observe how adjacent colors affect the perception of each other; adjust hues accordingly.
Simultaneous contrast
refining
step 04
Work on the clothing and background, ensuring that the colors harmonize with the figure. Use broader strokes for less detailed areas.
Tip — Ensure that the background does not compete with the figure but enhances it through contrast.
Color harmony
finishing
step 05
Add final details and adjustments, particularly in the areas of highest contrast. Check the overall balance of light and color.
Tip — Step back frequently to assess the overall effect and make any necessary corrections.
Final adjustments
critical techniques
Simultaneous Contrast
Used to adjust colors based on their interaction with adjacent hues, enhancing the vibrancy and realism of the painting.
Loose Brushwork
Applied to capture the spontaneous effects of light and color, avoiding over-modeling and maintaining the impressionistic style.
Color Harmony
Achieved by selecting colors for the background and clothing that complement the inherent colors of the model, creating a unified composition.
common pitfalls
- →Over-detailing the drawing or underpainting, which can lead to a stiff, lifeless final image.
- →Ignoring the effects of simultaneous contrast, resulting in flat or inaccurate color relationships.
- →Using too much paint in early layers, making it difficult to adjust colors and values later.
- →Failing to step back and assess the overall composition, leading to imbalances in light and color.
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific pigments used by Morisot for this painting are not detailed in the sources.
- ·The exact pose and expression of Julie Manet are not described, so the artist must rely on general knowledge of Morisot’s portraits.
- ·The specific background elements and their arrangement are not detailed, requiring inference from the artist’s general style.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Understanding simultaneous contrast and color harmony
- 315. As to the advantages the painter will find in it... — applied to Perceiving and imitating modifications of light
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Approach to underdrawing and artistic accuracy
The Practice of Oil Painting↗
- ON COPYING — applied to General advice on painting technique and copying
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Portrait painting↗
- Portrait painting — part 5 — applied to Composition and sketching techniques for portraits
Wikipedia: Oil painting↗
- Oil painting — part 6 — applied to Materials and brush techniques
Read more about the corpus on the sources page and how the guides are built on the methods page.
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